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Punkte
''Punkte'' (Points) is an orchestral composition by Karlheinz Stockhausen, given the work number ½ in his catalogue of works. History ''Punkte'' originated as a punctual orchestral work which was begun in September in Hamburg and had reached a first-draft stage by 30 September. The final draft was completed on 24 October 1952, but the work remained unperformed and unpublished . The work did not receive the title by which it is known today until much later, however. In a letter dated 4 November 1952 to (the editor from Universal Edition in Vienna who, at the premiere of Stockhausen's ''Spiel'' at the Donaueschingen Festival in October, had offered to publish his works), Stockhausen initially called his new score ''Zweites Orchesterspiel / Kontrapunkte / für Saiten- und Blasinstrumente'', and in a letter to his friend Karel Goeyvaerts dated 14 January 1953, he calls the orchestral work ''Nr. 4 Kontrapunkte'', adding, "It will be very difficult to perform this work". At this point ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kontra-Punkte
''Kontra-Punkte'' (Counter-Points, or Against-Points) is a composition for ten instruments by Karlheinz Stockhausen which resolves contrasts among six instrumental timbres, as well as extremes of note values and dynamic levels, into a homogeneous ending texture. Stockhausen described it: "Counter-Points: a series of the most concealed and also the most conspicuous transformations and renewals—with no predictable end. The same thing is never heard twice. Yet there is a distinct feeling of never falling out of an unmistakable construction of the utmost homogeneity. An underlying force that holds things together—related proportions: a structure. Not the same ''Gestalten'' in a changing light. But rather this: various ''Gestalten'' in the same light, that permeates everything." History The first, untitled version, written in 1952–53, was a sparse-textured, " punctual" composition scored for flute, E-flat clarinet, contrabass clarinet, contrabassoon, trumpet, contrabass tuba, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karlheinz Stockhausen
Karlheinz Stockhausen (; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, for introducing controlled chance ( aleatory techniques) into serial composition, and for musical spatialization. He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chöre Für Doris
(Choruses for Doris), after poems by Paul Verlaine, is a three-movement a cappella choral composition by Karlheinz Stockhausen, written in 1950 and later given the number 1/11 in the composer's catalogue of works. The score is dedicated to the composer's first wife, Doris Stockhausen, née Andreae. History During his third year of music-education studies at the Musikhochschule Köln, free stylistic exercises in composition were part of the program of training. Along with fugues, chorale preludes, sonatas, and song arrangements in various traditional styles, and a scherzo in the style of Paul Hindemith Paul Hindemith (; 16 November 189528 December 1963) was a German composer, music theorist, teacher, violist and conductor. He founded the Amar Quartet in 1921, touring extensively in Europe. As a composer, he became a major advocate of the ''Ne ..., Stockhausen wrote a number of choral pieces for the school choir in which he himself sang. Amongst them were these three ''Chöre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Keyboard Glockenspiel
The keyboard glockenspiel (French: ''jeu de timbre'') or organ glockenspiel is an instrument consisting of a glockenspiel operated by a piano keyboard. It was first used by George Frideric Handel in the oratorio ''Saul'' (1739). It was also used in the 1739 revivals of his '' Il Trionfo del Tempo'' and '' Acis and Galatea'', and the next year in '' L'Allegro, il Penseroso ed il Moderato''. Half a century later, Wolfgang Amadeus Mozart employed a ''strumento d’acciaio'' in ''The Magic Flute'' (1791) to represent Papageno's magic bells, and this instrument is believed to have been a keyboard glockenspiel.Blades and Holland 2001. This part is nowadays sometimes taken by a celesta. Maurice Ravel preferred the keyboard version of the instrument because it can play a true ''ff'' dynamic for brilliance and iridescence in orchestral climaxes. In the late 20th century, the firm of Bergerault began manufacturing a three-octave (F2–E4) mallet instrument with a damping mechanism operated by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Spiel (Stockhausen)
''Spiel'' (Play, or Game) is a two- movement orchestral composition by Karlheinz Stockhausen, written in 1952. Withdrawn by the composer after its first performance, it was later revised and restored to his catalogue of works, where it bears the work-number ¼. The score is dedicated to the composer's first wife, Doris. History In November 1951, Stockhausen sketched his first orchestral work and began composing the first of its three planned movements, provisionally titled ''Studie für Orchester'' (Study for Orchestra). Shortly afterward Herbert Eimert introduced Stockhausen to the director of the Donaueschinger Musiktage, Heinrich Strobel, who asked if he would be willing to compose an orchestral work for the festival, for which Strobel was prepared to pay a sum of 1500 DM—the largest sum of money Stockhausen had ever received for any single job up to that point in his life. Stockhausen agreed to send a two-piano reduction of the movement he had already begun to Hans Rosbau ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Permutation
In mathematics, a permutation of a set is, loosely speaking, an arrangement of its members into a sequence or linear order, or if the set is already ordered, a rearrangement of its elements. The word "permutation" also refers to the act or process of changing the linear order of an ordered set. Permutations differ from combinations, which are selections of some members of a set regardless of order. For example, written as tuples, there are six permutations of the set , namely (1, 2, 3), (1, 3, 2), (2, 1, 3), (2, 3, 1), (3, 1, 2), and (3, 2, 1). These are all the possible orderings of this three-element set. Anagrams of words whose letters are different are also permutations: the letters are already ordered in the original word, and the anagram is a reordering of the letters. The study of permutations of finite sets is an important topic in the fields of combinatorics and group theory. Permutations are used in almost every branch of mathematics, and in many other fields of scie ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Donaueschinger Musiktage
The Donaueschingen Festival (german: Donaueschinger Musiktage, links=no) is a festival for new music that takes place every October in the small town of Donaueschingen in south-western Germany. Founded in 1921, it is considered the oldest festival for contemporary classical music in the world, and among the best-known and most prestigious. History In 1913, the ''Donaueschingen Society of Friends of Music'' was founded under the auspices of the House of Fürstenberg. The idea soon arose to establish a small festival for presenting young and promising artists. A committee of distinguished musicians, among them Ferruccio Busoni, Joseph Haas, Hans Pfitzner, Arthur Nikisch and Richard Strauss, met in 1921 to discuss possible formats for the event. The first concert was presented just a few months later. On 31 July 1921 the ''Donaueschingen Chamber Music Performances for the advancement of contemporary music'' (''Donaueschinger Kammermusikaufführungen zur Förderung zeitgenössi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
U+25F9
U or u, is the twenty-first and sixth-to-last letter and fifth vowel letter of the Latin alphabet, used in the modern English alphabet, the alphabets of other western European languages and others worldwide. Its name in English is ''u'' (pronounced ), plural ''ues''. History U derives from the Semitic waw, as does F, and later, Y, W, and V. Its oldest ancestor goes to Egyptian hieroglyphics, and is probably from a hieroglyph of a mace or fowl, representing the sound v.html"_;"title="Voiced_labiodental_fricative.html"_;"title="nowiki/>Voiced_labiodental_fricative">v">Voiced_labiodental_fricative.html"_;"title="nowiki/>Voiced_labiodental_fricative">vor_the_sound_[Voiced_labial–velar_approximant.html" ;"title="Voiced_labiodental_fricative">v.html" ;"title="Voiced_labiodental_fricative.html" ;"title="nowiki/>Voiced labiodental fricative">v">Voiced_labiodental_fricative.html" ;"title="nowiki/>Voiced labiodental fricative">vor the sound [Voiced labial–velar approximant" ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Seventh
In music from Western culture, a seventh is a musical interval encompassing seven staff positions (see Interval number for more details), and the major seventh is one of two commonly occurring sevenths. It is qualified as ''major'' because it is the larger of the two. The major seventh spans eleven semitones, its smaller counterpart being the minor seventh, spanning ten semitones. For example, the interval from C to B is a major seventh, as the note B lies eleven semitones above C, and there are seven staff positions from C to B. Diminished and augmented sevenths span the same number of staff positions, but consist of a different number of semitones (nine and twelve). The easiest way to locate and identify the major seventh is from the octave rather than the unison, and it is suggested that one sings the octave first.Keith Wyatt, Carl Schroeder, Joe Elliott (2005). ''Ear Training for the Contemporary Musician'', p.69. . For example, the most commonly cited example of a melod ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Minor Third
In music theory, a minor third is a musical interval that encompasses three half steps, or semitones. Staff notation represents the minor third as encompassing three staff positions (see: interval number). The minor third is one of two commonly occurring thirds. It is called ''minor'' because it is the smaller of the two: the major third spans an additional semitone. For example, the interval from A to C is a minor third, as the note C lies three semitones above A. Coincidentally, there are three staff positions from A to C. Diminished and augmented thirds span the same number of staff positions, but consist of a different number of semitones (two and five). The minor third is a skip melodically. Notable examples of ascending minor thirds include the opening two notes of " Greensleeves" and of " Light My Fire". The minor third may be derived from the harmonic series as the interval between the fifth and sixth harmonics, or from the 19th harmonic. The minor third is co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Second
In Western music theory, a major second (sometimes also called whole tone or a whole step) is a second spanning two semitones (). A second is a musical interval encompassing two adjacent staff positions (see Interval number for more details). For example, the interval from C to D is a major second, as the note D lies two semitones above C, and the two notes are notated on adjacent staff positions. Diminished, minor and augmented seconds are notated on adjacent staff positions as well, but consist of a different number of semitones (zero, one, and three). The major second is the interval that occurs between the first and second degrees of a major scale, the tonic and the supertonic. On a musical keyboard, a major second is the interval between two keys separated by one key, counting white and black keys alike. On a guitar string, it is the interval separated by two frets. In moveable-do solfège, it is the interval between ''do'' and ''re''. It is considered a melo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
